LACPUG – Randy Ubillos

[Herb Sevush]

Charlie –

Thanks for the reply. I’ve downloaded Resolve but haven’t really played with it much, now you’ve inspired me a bit.

Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Scott Witthaus]

[Charlie Austin] “[Herb Sevush] “not any significant impact on the design of other Mac NLE’s “”

Project Rush?

Scott Witthaus
Visual Storyteller – FCPX, Premiere
https://vimeo.com/channels/1322525
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter

[Herb Sevush]

[Scott Witthaus] “Project Rush?”

You might think so, but not as far as I can see. Rush has tracks, non magnetic, no keywords, is part camera app, stores everything to the cloud automatically and then uses pre-made AE templates if you want to fancy things up graphically. Nothing X about it that I can see from the demo’s.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Ricardo Marty]

Lightworks (maybe 20 years old) is said to have the closest workflow of traditional film editors on moviolas and similar but apart from Martin Scorsese no one is talking about it.

Ricardo Marty

[Charlie Austin]

[Ricardo Marty] “Lightworks (maybe 20 years old) is said to have the closest workflow of traditional film editors on moviolas and similar”

I dunno, mostly works like any other modern NLE with tracks. The UI now is way better since the single window redesign. Previously it was like MC, i.e. lot’s of disconnected windows. Some people like the ability to make a mess, er.. organize their windows, not me. ☺

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~ My FCPX Babbling blog ~
~\”It is a poor craftsman who blames his tools.\”~
~I still need to play Track Tetris sometimes. An old game that you can never win~
~\”The function you just attempted is not yet implemented\”~

[Bob Zelin]

I know that this will be incredibly disrespectful of lots of famous editors – but famous Lightworks Editors
that include
Thema Schoonmaker
Tariq Anwar
Henry Stein
Jill Bilcock
Scott Hill –

they probably couldn’t edit on AVID to save their lives, not to even speak of FCP 7, FCP X, Adobe Premiere, Sony Vegas, and Davinci Resolve. You know what this means ? This means that they were “creative editors” that learned film, and could not be bothered learning anything new, and they stuck with what they know. If they were young, they would never be hired today. Just like most of the famous DP’s that refused to learn RED, Arri, and Sony 4K workflows (nothing can replace 35mm Panavision and Arri).

This is no different than idiots my age that say “the Beatles were the best band ever”. Exactly what are you going to do with a Rickenbacker 12 string and a Vox amplifier today ?

The world moves on. You keep up, or you die off.

Bob Zelin (62 years old, and still learning most of you young good for nothings !)

Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com

[Oliver Peters]

[Charlie Austin] “I dunno, mostly works like any other modern NLE with tracks.”

As you say, it’s been redesigned. In fact, it’s been redesigned several times over its lifetime.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

It’s interesting to look at the history of Lightworks. They actually started out as the preferred film editing NLE before Avid started to dominate. Hence the very film-like hardware controller. It’s hard to find any images of the original UI, but the first version was built on top of DOS, IIRC. So the Lightworks team had to create their own GUI, with a bit of the whimsical flare. Hence the shark icon instead of the more common trash can. Here is some background:

https://editstock.com/blogs/all/10988125-lightworks-user-guide-buried-in-1993-discovered-in-2011

https://library.creativecow.net/battistella_david/lightworks/1

Note the sort of 3D design to the window modules, like the timeline, in the first linked post. And as we now see, that approach has largely been homogenized into a standard track/2-up style UI. Yet another example of a different approach to a UI that ultimately failed in the pro user sphere.

Even today, though, Lightworks offers some unique features. I’m not sure if it’s still in the current version, but a couple of NABs ago, Lightworks (under EditShare’s ownership) introduced what is still the only collaborative method where two editors can SIMULTANEOUSLY work within the SAME timeline. When Editor A makes a change to the timeline, Editor B will see his timeline get updated after a refresh. No cloud service required. Magnetism across time and space!

☺

– Oliver

Oliver Peters – oliverpeters.com

[Aindreas Gallagher]

Yes, God but I adored the Lightworks system? The shark to nuke stuff, doors, the attic, that incredible controller. It was way more serious, but it was almost as idiosyncratic as Kais power tools?

Our place donkeys years ago had two lightworks out back in a jumbo portacabin. I was in awe of it. It cut together some weekly shows, but mostly it was cutting promos, which was insane in retrospect, so then they decided to plump for a Media 100 844X (ha ha) inside in the main promos edit suite with all the bells and whistles, which crashed and burned whenever it did, and then everyone realised that the graphics department had had the right idea ages back with macs and FCP (we had an ice board for AE).

I took the piss out of Ubillos from the cheap seats over X, but editing advancement turning into a software engineer’s disinterested analysis of the then editing practise feels a tad inevitable. CAD software isn’t much informed by a T-square. Or desktop publishing by hot letterpress. Or typography by letraset and french curves.

I just disagree with near every decision he arrived at with FCPX. jk lol.

Edit – or actually I’d make another point – he said his first experience, which was common, was tape to tape editing. There’s a pretty strong argument that the most prevalent, widely experienced consumer editing seen now is in snapchat and instagram stories – which is extremely brute force editing – almost enforcing old physical stop start limitations. There’s an argument that Ubillos paternally dumbed down his interpretation of full bore editing for no particularly good reason.
.

https://vimeo.com/user1590967
producer/editor.grading/motion graphics

[Scott Witthaus]

[Oliver Peters] “where two editors can SIMULTANEOUSLY work within the SAME timeline.”

I’m sorry, but this is a horrifying workflow, IMHO. Who the hell would EVER want that? Maybe I should just consider myself lucky never having had to work in a multi-editor workflow. I mean, outside of broadcast, where does this exist (not counting asst. editor tasks)?

Scott Witthaus
Visual Storyteller – FCPX, Premiere
https://vimeo.com/channels/1322525
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter